MUSICAL RECITALS.

New Zealand Herald, Volume LX, Issue 18374, 14 April 1923, Page 11

MUSICAL RECITALS.

LASZLO SCHWARTZ.

OPENING PERFORMANCE.

That, ; interesting personality in the world of music, Mr. Laszlo Schwartz, an accomplished violinist, whoso chief aim is to interest and educate the people in the quality of Hungarian music, gave the first of two recitals in the Town Hall concert chamber last evening, before a numerous assembly. The proceedings were marked by much enthusiasm, many encores being demanded. Mr. Schwartz is thoroughly conversant with his subject, which he dealt with in an entertaining and chatty manner in the Prologue, dealing with the poetry and power of Hungarian music. As Mr. Schwartz remarked, folk songs tell tales quickly, and in the many examples which he submitted it was surprising what a host of incidents _ and ideas were embodied in these veritable sound epitomes, many of which welded together in the mighty Liszt's Hungarian Rhapsodies. One of these, entitled "Blue Forget-K£-not," was of singular beauty. In the second example, "Falling Rose Petals," the rhapsodical elements were strikingly condensed. Here the violin melody . was charged with sonorous emotion, and was fascinating in its appeal. The "Serenade" illustration was interesting, in that it was identical with a theme exploited by Sarasate in one of his masterpieces of violin literature. An amusing example was the tale of a peasant donning a pair of new boots on Easten Sunday morning. The talking powers of the violin were never better illustrated than in the final example of the Prologue. Mr. Schwartz does not seek so much to dazzle by virtuoso flights as to entertain. His bodily swayings detract somewhat from the full effect of his interpretations, but there is not only no doubt of his sincerity as his bow sweeps the strings, but the rich tone he produce's should be the envy of most violinists. In a popular group, which included Mozart's "Rustic Dance." with its capricious rhythms, Gossec's attractive and whimsical "Gavotte," the Martini-Kreisler expressive "Aie," and Dittersdorfer's charming "Dutch Dance," the visitor was followed with keen interest. Mr. Schwartz's closing group comprised an ancient Hebrew lament, an arrangement of a Hungarian love song, a Balkan dance, and the Ware-Schwartz Hungarian Phantasy. The artistic triumph achieved by the brilliant young Auckland soprano, Miss Etta Eield, was not the least ..interesting feature of the recital. The marked improvement in her vocal style and development of her powers as a singer was a surprise to her many admirers and well-wishers. The despairing mood of Bantock's "The. Lament of Isis" was admirably suggested, while in the ensuing "Air de Salome" (Massenet) Miss Field showed a fine grasp of the operatic requirements of this fine excerpt, her voice frequently rising to a pitch of intensity. Mr. ' Schwartz was fortunate in having such an accomplished soprano as Miss Field to sing his well-harmonised songs. The numbers, "Dreams," "Children, Children," i and "Why Do I Love You So," were declaimed with uncommon artistry. Miss Field was warmly encored, and contributed many additional solos. The pianoforte accompaniments by Mr. Cyril Towsey were played with finelyjudged effect. Mr. Schwartz will give his second programme at the concert chamber this evening. ANDRE SKALSKI. THE SECOND RECITAL. ~ The brilliant young Polish pianist, Andre Skalski, again appeared at the Town HiSSI last evening in a programme which practically exhausted the major possibilities of pianoforte playing. Not only did many of the numbers demand that the musician should assume the full plentitude of his technical powers, but. there was ample scope for poetical treatment in the more refined works. A striking characteristic of Skalski's playing is his ready command of the extremes of tone. His contrasts are achieved without apparent effort, as he sits upright at the concert grand in. the semi-darkened hall. Some of his readings are refreshingly unconventional, thus affording a ready rebuke to those with pedantic notions of what constitutes a pianoforte performance. Opening with the Bach-Tausig, "Toccata and Fugue" 'in D minor, he speedily proclaimed his remarkable technical gifts. The Toccata itself was a fine example of clear fingering, through whose medium difficulties were swept away. Passing on to i : the Fugue it was noticeable that each voice part stood out with clearness and expression, while in the rapidly-moving phrases some delicate eflects were secured, The charm of Mozart's music was made evident in the " Sonata in A Major" (with the Turkish March) while two Beethoven selections included the , " Largo" and " Scherzo." After a musicianly rendering of Schubert's favourite, "Impromptu." the pianist closed the first part of the programme ■; with a rousing performance of Tausig's special arrangement of Schubert's " Marche Militaire." Of special interest to students was ; ;: the inclusion in the programme of a set of twelve- Lyric pieces by Grieg. The Scandinavian composer excelled himself as a constructive musician in his pianoforte miniatures, and the special characteristics of each one , played last evening were admirably brought out by Skalski. Opening with the brief '" Arietta," he next proceeded with the exquisite "To the Spring," in which the fragrant sweetness ;of the music was ever present. The " Poeme Erotique " gave opportunity for warmth of tone, and the suggestion of two distinct voices being heard. Following this was the " Rustic March,", with its clever suggestions of gradually advancing and retreating footsteps, and the sorrowful "Elegy." Some deft fingering was exhibited in the dainty, " Dance of the' Gnomes," while the sentiment of the ensuing " Notturno," was fittingly portrayed. The remaining numbers of the suite were " Grandmother's Minuet," the sprightly "Puck," the Norwegian " Hailing, ,r the sadly conceived sketch entitled " Gone," and "Remembrance," containing a return of the Arietta theme. Skalski chose as his concluding tour de force Liszt's "Twelfth Rhapsody," a work brimful ,of exuberance, and skilful treatment of 1 Magyar themes with the alternating moods. Few works could afford moro scope for pianistic brilliancy than this Rhapsody, and in the working out of it, the keyboard almost seemed to glow under the apparently tireless fingers of the . recitalist. Such was the enthusiasm created that Skalski was the recipient of a prolonged demonstration, which at . last compelled him to again seat himself at the piano and play Rachmaninoff's popular " Prelude in C Sharp Minor." ■ The third and final recital by Skalski is announced for Monday evening at 8 o'clock, when a programme of great interest will be played.